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Mutiny in Outer Space (1965)
A well-paced and entertaining sci-fi film hampered by its low budget
Mutiny in Outer Space was filmed in six days at Producers Studio in Hollywood, on a budget of approximately $90,000. Space Station X and Invasion from the Moon were the film's working titles. Although it was filmed in the US, the film is an Italian-American co-production. In the US, Mutiny in Outer Space was theatrically released as the second film of a double feature with The Human Duplicators, another such co-production.
The film is obviously quite cheaply made and it has the feel of being a throw-back to the science fiction films of the previous decade. However, some of the ideas presented are really quite interesting, while others are fairly naive and embarrassing even for the time. Among these are:
In relation to the scene in which the old communications satellite is on a collision course with Space Station X-7, we are reminded of the presence of space junk being an ever growing hazard to satellites and space craft in low orbit in our own time!.
Ice Caves on the moon: Recently we have detected the presence of water ice on the polar regions of the moon and within craters that are permanently in shadow. This also presents us with the possibility of obtaining both water and fuel for future lunar bases and missions to other planets.
Probe Ship Number Five and its "electronic skipper:" So much of space travel in our own era in terms of guidance, navigation, rendezvous and docking procedures is becoming more and more routine and automated.
The fungus and its survival in outer space: The Apollo 12 mission to the moon brought back to earth a camera from a Surveyor craft that was accidentally contaminated prior to launch with a common type of bacterium, Streptococcus mitis. The bacteria had apparently survived dormant in the harsh lunar environment for two and a half years. It begs the question as to what else could survive the extreme conditions of outer space and what kind of potential threat would be posed to life on earth?
Finally, there is the question of the "human element" that General Knowland was so worried about in relation to our presence in outer space. Who is to say what kind of toll an environment for which evolution has not adequately equipped us may have on our physiological and psychological state?
Terrore nello spazio (1965)
A stylish, innovative, well-paced and entertaining mid-1960s sci-fi film with strong tone and atmosphere along with earnest performances
A strange transmission of a distress signal is received.
The spaceships Argos and Galliot travel to the mysterious planet Aura to investigate.
Automatic controls malfunction and the Galliot crashes on the surface of Aura.
Upon landing, crew-members in Argos briefly lose control and attack each other.
Why?
Casualties are soon found but the Argos' Captain and his surviving crew discover that the dead do not stay dead.
How can this be?
Did they respond to a distress signal or have they fallen into a trap?
If the latter, then who set the trap and for what purpose?
Planet of the Vampires was based on an Itaian-language science fiction short story, One Night of 21 Hours by Renato Pestriniero. The film was co-produced by AIP and Italian International Film, with some financing provided by Spain's Castilla Cooperativa Cinematográfica. American International Pictures released the film as the supporting film on a double feature with Daniel Haller's Die, Monster, Die! (1965).
Bava's film seems to have been a major influence on Ridley Scott's Alien (1979) both of which have similar narrative and visual design elements. Just consider for instance, the continuous shots & panning inside the Argon vessel, the discovery of a giant alien skeleton outside and inside the derelict alien ship, the horseshoe shape vessel design, the landing on the alien planetoid scene, the response to an alien signal an so on.
Ib Melchior who wrote the screenplay for the English-language version of the film had been involved with other sci-fi films featured in this blog such as The Angry Red Planet (1959), Reptilicus (1961) and Robinson Crusoe On Mars (1964).
On set it must have been a regular Tower of Babel as each cast member used their own native language on the set, often not understanding what the other actors were saying. The languages used ranged from English, Portuguese, Italian through to Spanish. The actors' voices were then dubbed into Italian or English in post-production.
Opticals, miniatures and forced perspective visuals were used throughout the film, along with colored fog to add atmosphere while obscuring the cheapness of the sets. In some of the shots two plastic rocks were multiplied by mirrors and multiple exposures. The planet's exterior sequences were filmed on an empty stage obscured by mists, table top miniatures and Schüfftan process effects involving the use of mirrors to reflect a portion of the action being filmed onto a separate piece of glass, which is then incorporated into the final image. This process allows the creation of the illusion of complex and realistic environments.
Planet of the Vampires is a beautifully photographed film with effective special effects and use of color to the accompaniment of eerie atmospheric music. Often the tone and mood is simply set by the sound of humming electronics and the menacing moan of the planet's wind. The viewer is taken along as a participant by the ever-roving camera as it pans, tracks and zooms in and out and leads us through a scene by means of continuous shots.
The horror and science fiction elements of the film are very well combined giving it an unsettling and creepy feel without going over the top. We are given time to take in everything at the visual level without nausea-inducing shaky camera work and continuous rapid cutting of shots. We also (shock-horror!) have a story with a structure that audiences can actually follow. If I have any criticism, it is with those damn collars of the characters' uniforms. They must have annoyed the heck out of the actors. Speaking of the vinyl uniforms, Norma Bengell and Evi Marandi did them full justice!
Notice too that unusual for the time the film was made, the female characters were depicted as being fully integrated members of the crew who even participated in the nitty gritty of missions and dangerous conflicts.
Planet of the Vampires deserves to be more widely known and not simply forgotten. It is a wonderful gem of cinematic history that still stands up surprisingly well.
Star Trek: The Motion Picture (1979)
The film that gave Star Trek back to the world
Star Trek The Motion Picture raises some of the so-called eternal big questions for humanity as a whole and for individuals (to the extent that anyone really bothers to consider such questions): 'Why am I here?' 'What was I meant to be?' 'Is this all there is?' 'Is there nothing more?' As a sentient life-form, V'ger hopes to touch and join with its Creator to find its own answers. Considering the murderous and inhumane cavalcade of human history, one can't help but wonder if there might be any truth to McCoy's bitter observation that V'Ger's liable to be in for one hell of a disappointment. Perhaps if we stop to ponder such big questions and look up from picking fluff out of our navels, we'd be less inclined as a species to slaughter our fellow human beings or stand back and watch while innocent people are being mown down and dispossessed by brutal, self-justifying and opportunistic State, sectarian and political entities.
Star Trek: The Motion Picture is very much a film about individual characters on their own voyages of self discovery. The question being raised for each character: Is their concept of fulfilment sufficient? In the end, is this all there is and Is there no more? The answer may lie in our feelings for our fellow human beings and in the relationships we form.
Another important issue that is raised concerns humanity's ultimate destiny and the role that our technology may play. Could it be possible that our own evolution may involve a melding or joining of our biology with our technology and that eventually our technology will supersede human beings entirely? Will an entirely new species evolve combining elements of humanity (emotions, thought processes) and artificial machine intelligence? Could this new life-form then reach out into the cosmos or traverse dimensions and establish contact with similar entities?
Many critics who have expressed disappointment with the film and its portrayal of the characters have missed the point of 'change' as being part and parcel of life. During the interval between the original series ending and the filming of the motion picture, the actors playing the characters had themselves changed as individuals and such change would also inevitably be reflected in the roles they played. Yes, we the audience longed for a reunion of characters we all knew so well and hoped that they would hug each other, hold hands and sing Kumbaya as if nothing had changed. We also may have wondered what ever happened to those bright primary colours that festooned the Enterprise interior and Starfleet uniforms and why they were replaced by neutral colour schemes. Well, guess what? Everything including people change and if there's no change and people choose to Klingon, sorry cling on to the past, and wallow in nostalgia then there's only stagnation to look forward to.
Much has also been made about actor dissatisfaction with the scrip; frequent script re-writes by the actors themselves; delays and more delays; issues with characterisation; on and off-screen lack of chemistry; unfamiliarity with and departure from the true spirit of Star Trek and on and on.
Although director Wise was unfamiliar with the background intricacies and in-and-outs of Star Trek that lay behind and formed the context of the film, he did rely on the actors, especially William Shatner, to ensure consistency in terms of dialogue and characterization.
Some critics have whined about the film's pacing and complained about long stretches without apparent action or dialogue. Take for instance, the first close view of the Enterprise as Scotty and Kirk view it on approach in the pod. In our modern 21st century attention deficit disordered society it might be difficult for audiences to handle an absence of rapid quick cutting shots, meaningless babbling incomprehensible and inaudible dialogue, stuff constantly happening and so on. The slow approach toward the starship and the time given to taking in its whole exterior is designed to evoke what Kirk must have felt upon seeing his beloved Enterprise after so long a time. It's called savouring a moment when you just have to shut up and let your senses take it all in.
There has over the years been a plethora of mixed reviews for Star Trek: The Motion Picture. In answer to the mumblings of many of these celluloid nit-pickers, let's check out the results of the end product:
When the film opened in the United States and Canada it set a box office record for the highest opening weekend gross, making $11,926,421 in its first weekend. The film went on to earn $17 million within a week and was the fifth-highest-grossing film of 1979 in the US. Overall, the film grossed $139 million worldwide. Star Trek:The Motion Picture was nominated for three Academy Awards: Best Art Direction, Best Visual Effects and Best Original Score.
In the United States, the film sold the most tickets of any film in the franchise until Star Trek (2009), and it remains the highest-grossing film of the franchise worldwide adjusted for inflation. The film's budget of $44 million, including the costs incurred during Phase II production, was the largest for any film made within the United States up to that time. Had the film been unsuccessful, there's every chance that the franchise would not have continued.
Runaway (1984)
A lesser-known sci-fi film that deserves greater recognition
Runaway (1984) had a multi-million dollar budget with big-name actors and a popular and famous author as its writer and director. Despite these factors however, it was overshadowed by such blockbusters as The Terminator, Star Trek III: The Search for Spock, and 2010: The Year We Make Contact. Unfortunately, the film was a box office disappointment.
The film's star, Tom Selleck appeared in Michael Crichton's film Coma and is best known for his role in the TV series, Magnum, P. I.. It was good to see Selleck in a role that departed from the one he had in the TV series. In Runaway, he gave his character a great deal of believability and credibility. Runaway was his third starring film role following High Road to China and Lassiter.
The film was first rock star Gene Simmon's first feature acting role. He was offered the part after meeting Crichton and did not have to read for it.
Kirstie Alley received a 1984 Saturn Award nomination for Best Supporting Actress for her performance in the film.
The characters are generally underdeveloped and rather two-dimensional, with Luther being just plain evil in a comic-book fashion with little depth, the police captain being constantly on the verge of apoplexy while berating Ramsay and with Karen and Jackie serving mostly as eye-candy and potential love interests for Jack. Nevertheless, they both the best with what they had to work with. Ramsay's character is probably the most interesting one of the lot.
One standout feature in Runaway at least was the obvious on-screen chemistry between Tom Selleck and Cynthia Rhodes, who played Karen, Ramsay's partner. She also had previously appeared in Flashdance and Staying Alive as a dancer, and in Dirty Dancing (1987).
Filming took place from 29 May to August 1984 in Vancouver while Selleck was on a break from Magnum, P. I..
The original musical score, composed by Jerry Goldsmith was his first all-electronic soundtrack.
The involvement and influence of the film's writer/director, Michael Crichton encompassed such movies as The Andromeda Strain (1970), Westworld (1973),The Terminal man (1974), Coma (1978) and Jurassic Park (1993).
While not quite on the same level as some of the other films, Crichton's skilful direction enabled Runaway to move along at a fast pace and allowed it to convey a sense of inventiveness and originality which still stands up well today. Take for instance as a small example, the smart bullet-eye view scenes as the projectiles zeroed in on their human targets.
From the time of Jules Verne, science fiction has often been based on a particular era's contemporary technical and scientific developments and extrapolating future scenarios from those ideas. Some might see this as constituting a kind of prescience, prediction or foretelling the future. Runaway contains many elements of technology that existed at the time as conceptual ideas or were being developed such as domestic robots, voice-activated computers, biometric security, camera drones, tablet PCs, wireless headsets, and smart weapons.
You would have noticed the following kinds of technology used in Runaway that are only now starting to be introduced or have only recently formed part of everyday use in recent times:
Autonomous Self-Driving Cars: In Runaway, the police cars have a robot driver which may be doing the driving, but the human element has been removed. In the 21st century we are on the cusp of antonymous driving vehicles becoming a reality but there are still many bugs and obstacles to be dealt with before they become widespread or even accepted in people's minds.
Digital Photo Editing: In the film, the investigation involved the use of a digital sketch artist portable computer programme whereby hair and facial features are swapped in and out until an image of the suspect is arrived at.
Drones: In Runaway, "floater" drones equipped with cameras are used by the police to investigate a dangerous criminal situation. These days drones are used for this purpose as well as by citizens for personal recreation. Drones are also used for delivering goods to people, in search and rescue operations, in archaeology (photogrammetry), for peacetime and wartime surveillance, stealth targeting and bombing of adversaries during conflict and so on.
Smart Weapons: In the film, Luther employs a smart bullet pistol that fires smart bullets that use a heat-seeking system to target their victim. The bullets can swiftly and deftly change course mid-flight and manoeuvre around corners before striking their target and exploding. In our time we have become accustomed to hearing and using the term "smart" weapons - a euphemism for disgusting products or mankind's warped sense of morality and Luther-like mentality.
Tablets: Some the officers in the film handle what appear to be the equivalent of our tablet computers. Bobby using his screen device under the bed covers at night is something all too familiar to today's parents.
Video Doorbells & Home Survellance: In the film a video doorbell door recorder is used in the investigation to check the video messages.
Voice Activated & Interactive Technology: We see an hear Ramsay verbally interacting with both his household Robot, Lois as well as with the Vectrocon Company's computer. In our own time, we are becoming more accustomed to doing the same with devices like Google Assistant & Alexa, as well as with more and more sophisticated conversational and generative forms of Artificial Intelligence. I
Wireless & Bluetooth: In Runaway what uncannily resembles modern bluetooth earpieces are used by the police officers to communicate with one another.
Runaway portrays a near-future world that in 1984 would have been well within the realms of possibility for audiences, while for 21st century audiences it presents scenarios that are becoming all too familiar. The film is not simply a cautionary tale about the evils of technology. Instead, technology is presented as being a pervasive part of our lives and is not necessarily inherently evil. In fact, technology assists humanity in so many ways but the problem arises when it winds up in the wrong hands and is used for nefarious purposes.
Another aspect of technology is voiced by Ramsay when he says to Karen, that "relationships don't work right, People don't work right. People make machines, so why should machines be perfect?" This is something we are coming to grips with today as our lives are being more and more regulated by algorithms. What happens when our negative human traits, foibles, prejudices and biases are built into the devices we use? In addition, when does technological assistance and enhancement turn into dependence and with what consequences?
The role of the media, particularly television journalism comes in for a deal of scrutiny and criticism. Consider the intrusiveness of reporter, Miss Shields as she keeps popping up and sticking her microphone in Ramsay's face in search of the angle and the story despite the tragic scene unfolding and the safety of others present. Then there is the cameraman who enters the house after Ramsay in a quest for an exclusive shot of the baby's rescue despite the danger to himself, the baby being held hostage by the robot as well as to Ramsay who is trying to effect its rescue. Of course, the cameraman puts himself in danger and pays with his life. It isn't very long before he is replaced by another cameraman.
I'm not sure if anyone in 1984 could have foreseen how the much the media landscape would change over the course of 40 years. We've seen via a major technological development, a significant move away from traditional mainstream media to more fragmented and polarized forms of social media. Truth, fact and evidence have been replaced by "alternative" forms of "truth' and "fact." Shouting of unsubstantiated opinions have replaced reasoned debate and argument. Prejudice and emotionalism often colour our view of people and events. A lot can happen in just 40 years, much that tends to recur again and again in various forms, some of which can be foreseen and others that can never be imagined or expected and will take us by surprise. Consider the next 40 years.........you would be and will be surprised!
Kaitei gunkan (1963)
Not a top-notch classic Japanese science fiction film, but entertaining nevertheless
Atragon is a fairly entertaining Japanese science fiction film with impressive-looking sets and battle sequences together with a rousing music score. However, this is probably one of Toho's and Ishiro Honda's somewhat lesser efforts.
Atragon (Kaitei Gunkan 'The Undersea Warship') is a 1963 Japanese tokusatsu (Japanese special FX ) science fiction film directed by Ishiro Honda, with special effects by Eiji Tsuburaya.
The American title of this movie "Atragon" is an abbreviation of the words "Atomic Dragon."
Produced and distributed by Toho, it is loosely based on The Undersea Warship: A Fantastic Tale of Island Adventure by Shunro Oshikawa (1899) and The Undersea Kingdom (1954-1955) by Shigeru Komatsuzaki.
Augustus Le Plongeon (1825-1908) introduced the notion of "Mu" as being a mythical lost continent, the "Land of Mu" identified with, what else? - Atlantis. It was later identified with the hypothetical land of Lemuria by James Churchward (1851-1936), who claimed that it was located in the Pacific Ocean before its destruction.
Five models of Gotengo, all at various scales, were built for the film with steel hulls for supporting their internal mechanisms. The largest was 4.5 meters (15 feet long), manufactured by a ship-building company for the price of 1,500,000 yen. It was fully operational with wings, fins, gun turrets, a bridge and the drill, all movable by remote radio control devices built into the hull. It was also large enough for a technician to lie inside the hull and manually operate some of the ship's movable parts. The 30 cm model was used mainly in water tank shots to depict Gotengo cruising on the surface of the sea. A small mechanical arm was attached to the ship beneath the water line, providing the ship mobility. Moreover, Gotengo was just so damn cool!
Filming of Gotengo's trial run made use of an indoor water tank with a miniature shore line placed in front of a huge curved backdrop painting with the scene being shot in three different cuts, each of which used a different scale miniature sub along with the use of an underwater crane, high speed photography, wires and air jets to create the illusion of mass and propulsion.
The scene where the American submarine Red Satan is crushed by water pressure was done by pumping air out of the model. A cool science experiment!
Toho's Stage Number 11, the largest on the back-lot was used for the Mu ritual extravaganza. An elaborate backdrop measuring 30 feet high and 120 feet long was made for long shots of the Empress and her court overseeing the Mu ritual. The royal contingent observing the 600 male and female dancers was placed on a small platform with the pillars, balcony, and antechambers all painted in perspective on the backdrop.
The Ginza and Marunouchi areas reproduced in miniature at 1/20 scale were used for depiction of the destruction of the Tokyo business district. The model buildings were made of plaster, with some made with internal steel structures, ensuring that that they would partially survive the destruction. The buildings' main supports were partially cut through and ropes were tied to each support beam with all the ropes being attached to the bumper of a truck. The intention was for the underground collapse to slowly ripple through the city, destroying it in a rolling wave. Needless to say it did not go according to plan as the truck driver panicked and drove off too quickly causing the entire model city to collapse at the same time. Recourse was made to some nifty editing later on.
An outdoor water tank on the Toho back-lot was used for shooting the attack by the Mu submarine on Tokyo Bay. Ten miniature tankers were constructed, each to a different scale and were distributed in the water tank to create a forced perspective thereby adding greater depth to the scene. Six automatic remote-control cameras shot the scene simultaneously as six miniature ships exploded in sequence. Conventional animation was used to integrate the Mu subs' ray to the live action.
The underwater sequences were achieved through the use of camera filters and smoke machines.
The illusion of an immense wall of smoke and flames erupting from the explosion of the Mu power chamber was achieved by using a small water tank against which a camera was secured and positioned upside down beneath the water line. A sky backdrop was placed behind the water, and coloured paints pouring into the water, created the billowing clouds.
Instead of a dragon, Manda was originally envisioned as a giant rattlesnake. However, Manda's design was changed to resemble a Chinese dragon with 1964 being the Year of the Dragon.
Manda was built up as being a frightening and awesomely powerful creature. Strangely enough, it couldn't even give a decent account of itself in its battle with Atragon and only appeared briefly mainly in the second half of the film.
The strength of the film itself lies in the personal struggles of some of the characters such as the tortured Jinguji who is torn between his loyalty to Japan, his love for his daughter and the ultimate fate of the world as they face attack from and domination by the Mu Empire. It is also interesting to note that the threat to Earth is not by aliens from outer space but from beneath the ocean by a once thought of lost civilisation. The Muans are descendants of the lost continent of Mu who are also reminiscent of the lost continent of Atlantis, except that the Mu are located in the Pacific.
Atragon also raises some interesting questions concerning the way in which a nation and its people attempt to come to terms with its past and how it envisions its role in the future and its place in the world. When people find it hard to cope with change or when times are desperate, solutions are often sought by seeking out and clinging on to historical myths and idealised views of the past. Unfortunately the more unpalatable and forgotten aspects of this past often lie in wait below the surface ready to emerge and claim the hearts and minds of the susceptible.
All in all, Honda has directed far better films than Atragon, but I recommend you watch it and try to enjoy it for what it is despite some of its short comings. Just don't expect it to be on the same level as Japanese classics of superior quality such as The Mysterians, Battle Beyond Earth, Gojira or Rodan.
Island of Terror (1966)
A competently directed British sci-fi gem
Island of Terror (Night of the Silicates) is a 1966 British sci-fi / horror film released by the short=lived Planet Film Productions. The film was released in the United States by Universal Studios on a double bill with The Projected Man (1967).
Gerry Fernback's screenplay The Night the Silicates Came was the inspiration for Island of Terror. Producer Richard Gordon partnered with Tom Blakey of Planet Films to produce the film.
The film was shot on location in Wexham, St. Huberts, Buckinghamshire and (where else?) Pinewood studios.
Tom Blakely's Planet Productions made only four feature films, including Island of Terror, the vampire film Devils of Darkness (1964) and Night of the Big Heat (1967). Island of Terror and Night of the Big Heat and make excellent films to watch back-to-back due to their similar nature and the fact that they were directed Hammer director Terence Fisher and starred Peter Cushing with Christopher Lee included in the cast of Night of the Big Heat. In both films we have a focus on characters in isolated communities having to contend with dangerous situations as well as having to struggle with aspects of their own human natures and relationships.
Director Terence Fisher made many horror films for Hammer productions such as The Horror of Dracula, The Brides of Dracula, Dracula Prince of Darkness, The Curse of Frankenstein, The Revenge of Frankenstein, The Gorgon, The Mummy, The Two Faces of Dr Jekyll, The Curse of the Werewolf, Hound of The Baskervilles and more.
Edward Judd plays the scientific swash-buckling hero of the film dashing about giving orders, lobbing incendiary devices at bone dissolving creatures, procuring a hot babe, coming up with solutions to problems and making pronouncements. Although good in this role it is nowhere near as compelling as his character in the excellent apocalyptic film The Day the Earth Caught Fire (1961) in which he really got his teeth into that biting, acerbic and irony-laden dialogue.
I'm quite happy to watch Peter Cushing in practically anything on screen and in this film he plays his character with effortless ease and class. Carole Gray's character is pretty much stereotypical as a woman in distress who needs protection and is there for the love interest angle. Her eyelashes certainly get to work overtime.
The less said about the 'Silicates,' their cow-pat appearance and sloth-like mobility the better. They are introduced much earlier in this film than the alien creatures in Night of the Big Heat who wisely held over until right at the end. At least the depiction of their method of division was quite effective.
The film portrays how science, no matter how good the intentions may be, can be responsible for creating its own monsters which then require science to produce solutions to those very problems. And so we see three experts tackling such a problem by assiduously studying available data before deciding on a course of action and applying accepted scientific methodology. The recent Covid-19 Pandemic shows what a hard sell that might be in today's climate where everyone thinks they are an expert in everything and there's little patience for taking one's time, following processes and trusting scientific expert opinion.
Overall, Island of Terror is a competently directed British sci-fi gem with a stirring and eerie musical score, colorful and crisp cinematography and an entertaining combination of suspense, humor and horror.
Night of the Big Heat (1967)
A low budget but eerie, tense, gripping and effective sci-fi / horror film that let its characters tell the story
Night Of The Big Heat was adapted from a science fiction novel by John Lymington. The novel had also been adapted for British television by ITV in 1960.
Filming took place at Pinewood Studios and on location in Iver Heath, Buckinghamshire. The exteriors for the inn where the action takes place were filmed at The Swan Inn in Milton Keynes Village. The opening shots of the island's meteorological station are of the transmitter station at Portland Bill, Dorset.
The film has a very impressive cast that includes, Patrick Allen, Sarah Lawson (both married in real life), Jane Merrow and of course, Christopher Lee and Peter Cushing.
The film's director, Terence Fisher made three films for Planet Film Productions of which Night Of The Big Heat was the last. Fisher made many fine films for Hammer productions including various Dracula & Frankenstein horror films, The Gorgon, The Mummy and Island of Terror.
Instead of relying on the use of special effects to provide its impetus, Night Of The Big Heat is very much a character-driven film. It focuses more on ordinary people who find themselves in an extra-ordinary situation where they are isolated and cut off from the rest of civilization. Within the claustrophobic setting of the inn, they are forced to confront and make decisions about the danger that's facing them in the form of an alien invasion. The characters are also forced to confront certain truths about themselves and each other particularly in relation to the accompanying love triangle.
As the temperature rises and the sweat pours forth from every pore, many of the characters begin to lose control of their minds and emotions and succumb to irrationality, anger and lust. On that basis, the characters are really just like anyone of us: flawed human beings who under certain stressful circumstances may act heroically and unselfishly but who may also have the capacity to behave in very inhumane and abominable ways.
Take for instance the characters involved in the love triangle subplot. I'm afraid that Jeff comes across as a rather snivelling cad and bounder who seems to want to have his cake and eat it too without the consequences. Jeff doesn't deserve either woman (especially his wife) both of whom could easily do far better. As for Angela, she does come across as a home-breaking little floozy who would have done better by putting it straight to Jeff that if he is at all serious about her he should tell his wife and leave the relationship before she will have anything further to do with him. Frankie, however should have just told Jeff to pack his bags and take his lover with him. Under similar circumstances, how would any of us behave? Who knows?
The time of year that the film was shot was not exactly conducive to generating streams of perspiration from the actors, so director Fisher had them smear glycerine on themselves to create the sweaty effect along with them having to wear damp shirts. Why Peter Cushing's character kept his jacket on in such temperatures.
It is also a wonder that so much booze is being consumed during such hot and humid conditions. After all, alcohol would tend to exacerbate the dehydration process. Lots of water would be a far better option.
OK, we know about the less than impressive appearance of the aliens, but what can we expect considering the film's budget? At least it was a good choice to create a sense of atmosphere by not allowing the viewers to see what the aliens actually look like until the end. Instead, there was a reliance on what is not seen and what is implied by focusing on the characters' reactions to what they are confronted with together with the impressive sound effects and music to heighten the tension. Unfortunately, the final rushed climax along with the appearance of the aliens tended to be somewhat disappointing considering the build-up throughout the film.
The Power (1968)
Not a classic sci-fi film, but an entertaining oddity with an impressive supporting cast and good production values
The Power (1968) is based on the 1956 science fiction novel The Power by Frank M. Robinson. The novel's protagonist Tanner, a researcher discovers evidence of a person with psychic abilities among his co-workers. The story follows his attempts to uncover the mysterious and elusive superhuman. As the mystery unfolds, Tanner's very existence is being erased and his associates murdered, until the climactic showdown with a seemingly invincible opponent. I strongly suggest that you try to read the novel first as it's told from the protagonist's viewpoint and the unfolding mystery has more meat to it than does the film version. Certain events from the novel don't appear in the film probably due to time and other constraints.
The story was first televised live as a one hour Studio One Episode aired on Jun 4, 1956.
The Power (1968) was shot at Culver City and Santa Monica
The film is somewhat of a hybrid type of film combining elements of murder mystery, conspiracy thriller and science fiction.
The Power was competently directed by Byron Haskin who had worked in Warner Brothers Special Effects department. Haskin was also responsible for Walt Disney's first live-action film, Treasure island (1950) and from the mid-1950s he began a partnership with producer George Pal. A memorable result of that association was the classic science fiction film, War of the worlds (1953). Other sci-fi collaborations between Pal and Haskin include Conquest Of Space (1955) and Robinson Caruso On Mars (1964).
A strong cast has been assembled with the then younger co-stars, George Hamilton and Suzanne Pleshette being supported by well-known veterans such as Michael Rennie, Yvonne de Carlo, Aldo Ray, Richard Carlson and Earl Holliman. Among others. Some of these characters seem to have been very much under utilized. Suzanne Pleshette for instance, is part of that cohort of lovely 1960's female actors that include Jane Fonda, Faye Dunaway, Raquel Welch and of course, Barbara Eden. In this film, however it is hard to pin down her role or function. She just seems to be...there. As for Earl Holliman! Talk about miscasting! And what did Michael Rennie's character, Nordlund intend to do with his power?
The Power contains sufficient thrills, mystery, suspense, intrigue and plot twists to keep it entertaining and even though generally well-paced there are some slow-moving plodding scenes and moments. The film also comes across as do many others of the era as being quite dated despite its efforts to be modern and even on the verge of being futuristic.
The main feature of the film is the mystery surrounding the identity of the Adam hart character and Tanner's efforts to find who he was in the past and who or what he has become. During the course of the film, the audience isn't given the chance to warm to any of the characters and is never isn't sure who can be trusted, as they are being strung along throughout.
Miklos Rosza's score is sufficiently eerie and effective in enhancing the tension and suspense through the use of a cymbalum / dulcimer instrument, a Hungarian folk instrument. The soundtrack also featured the rhythmic sound of a beating heart to signal the psychic mind-control attempts
Th film reminds us that what we need to be aware of is the kind of power that is concentrated in the hands of the few (human or artificial intelligence) and exercised over our thoughts, perceptions and view of reality as a means of absolute control. For that would be the kind of power we should fear - the power that corrupts...absolutely!
The Phantom Planet (1961)
Good fun but with feet still firmly stuck in the 1950s
Phantom Planet is a fun sci-fi film with minimalist production values and special effects, both matching its budgetary constraints but with interesting ideas such as anti-gravity and magnetic fields. Unfortunately, it fails to launch far enough away from the world of 1950s film sci-fi and take the viewer into the brave new world of the future.
The story sounds like something out of Gulliver's Travels but set in an alien land of Lilliput.
The film does indeed raise some interesting questions that humanity will need to consider as it ventures further out into the cosmos. As stated in the introduction:
" What is his earth in relation to the inconceivable number of other worlds? Is his speed truly the fastest? His achievements the greatest? Or is he a mere unimportant piece of driftwood floating in the vast ocean of the universe? Could there be life similar to our own on other planets? Is it not possible that atmospheric conditions of relative environments control their shapes and forms? If so, would they be giants.... or could perhaps the opposite be true? Could their intellect have reached a scientific level far above man's dreams?"
Phantom Planet will, however grow on you after a couple of viewings.
Ikarie XB 1 (1963)
An overlooked compelling science fiction film that is ahead of it's time and focuses on complex human drama instead of cheap sci-fi razzamatazz
Year: 2163
Starship Ikarus XB 1: a giant spaceship carrying 40 people to Alpha Centauri.
Mission: the mysterious "White Planet" orbiting the star Alpha Centauri & search for signs of life.
Duration: 28 months at near light speed (15 years time elapse on earth due to relativity effects)
Adjusting to life in space
Encountering a derelict 20th century nuclear armed spaceship
A radioactive dark star
Malfunctioning computers
Tensions among crew and passengers
A crew member's mental breakdown threatening the entire mission.
These are the hazards & dangers to be faced by the passengers and crew of Icarus XB 1 as they "Voyage To The End Of The Universe!!"
Ikarie XB 1 is based on a 1955 novel, Oblok Magellana/The Magellanic Cloud by Polish science fiction author, Stanislaw Lem who also published his best known work, Solaris.
Ikarie XB 1 in many ways stands head and shoulders above what was generally on offer at the time much like Forbidden Planet (1956) and 2001: A Space Odessy (1968)
In the film we have;
The daily activities of the crew on its 28 month mission to Alpha Centauri.
The dangers of space travel with hazards from without such as radiation from the Dark Star and hazrds from within as suggested by Michael's breakdown.
The rewards of space exploration.
Cooperation and interraction between a multi-national male and female crew.
A serious tone permeating the film focusing on the social and psychological aspects of human endeavor in space.
Commentary of humanity's predilection for warfare.
A positive message about humanity in space with man and not machine being the driving force as shown by the crew's capacity for hope being the reason the Icarus continued on.
We don't have;
Massive CGI fueled space epics in which the fate of the universe is at stake.
Lashings of expected Communist and Pro-Soviet propaganda along with anti-Capitalist admonishments.
Typical space drama trials and tribulations involving mad scientists, killer robots, lashings of techno-babble and hardware.
The Ikarie's encounter with the perfectly preserved space relic from the 20th century forces us to imagine how our descendants might view us and the era that encompassed world wars, regional conflicts, sectarian violence, climate catastrophes, genocides, atomic weaponry and more.
I'm not going to waste anyone's time by mentioning in any detaill the American butchering of the film with the Voyage To The End Of The Universe AIP dubbed version, or references to how the film supposedly influenced Gene Roddenberry's Star Trek and Kubrick's 2001: A Space Odessy. Perhaps it did, perhaps it didn't. Who knows? Really, who cares?
The original Czech version won the main prize at the 1963 Trieste International Science Fiction Film Festival. The restored original Czech version was screened as a "Cannes Classic" at the 2016 Cannes Film Festival.
The exterior sets and shots probably reflect the technology available at the time but were adequate enough. It is however the interior set designs that stand out. In many ways parts of the ship's interior remind me of the sets on the Doctor Who TV series with the geometric shapes and circles. Shots of individual crew members are framed in such a way that they appear dwarfed by the open spaces and towering technology of the ship. This serves to highlight the apparent insignificance of human beings in the face of their own technology and the sheer immensity of the universe and what is being undertaken.
We keep being told how human beings have the technology to begin establishing its presence on other planets such as Mars. However, I still think that at present our level of optimism far exceeds what we are in fact capable of realistically achieving. The film shows how even mundane problems can arise to thwart and jeopardize our endeavors in space. First, there is the sense of boredom and despondency experienced by the crew. Then there are the frayed nerves resulting from being confined with the same faces and annoying individuals and their annoying habits for extended periods of time. Just think about how often work colleagues can give you the irrits but at least you can go home at the end of the day. Now imagine being stuck with them in a habitat on Mars or on 28 month voyage in a ship travelling to Alpha Centauri! Not long before there'd be the first space homicide or at the very least, the sight of a poor soul curled up in a fetal position, sucking his thumb and cooing softly to himself.
Capricorn One (1977)
A great sci-fi political thriller reflecting the increasingly prevalent cynicism of the 1970s through to the present day
"Capricorn One," NASA's first manned mission to Mars.
Seconds before the launch, the crew is pulled from the capsule!
The rocket leaves earth unmanned!
The life support system is faulty!
NASA fears the publicity of a scratched mission!
An unthinkable plot is hatched!
An investigative reporter puts pieces together of an unthinkable mystery involving..
Humanity's greatest achievement
OR
Its greatest hoax?
"Capricorn One's" story was unmistakably inspired by conspiracy theories surrounding the supposedly faked Apollo Moon landings which have persisted to this day. It cleverly explores just how far a government might go to cover up its own corrupt activities and even its own incompetence and failings and then set about silencing anyone who dares get in its way.
It is definitely refreshing to be able to enjoy the style of film making displayed in a film like Capricorn One with its long, slow and deliberate shots that actually allow the viewer to examine and take in details. How unlike the shaky camera and rapid-fire cutting together of shots in many of today's films which make the viewer want to seek some kind of psychiatric counselling.
It is also refreshing that instead of the kind of CGI saturation we are accustomed to these days, we are instead entertained with a dangerous live action plane and helicopter chase stunt sequence, along with an out of control car racing through traffic-laden streets. In fact, a stunt pilot in the film, Frank Tallman, who flew the red Stearman plane, claimed that the dog-fight sequence was "the most dangerous and complex aerial sequence ever executed for a movie."
Despite the story's tension, humour is occasionally introduced without taking anything away from that sense of tension. For instance, Telly Savalas (who in real life was afraid of flying) plays the ornery crop-duster pilot, who out-haggles the city-slicker reporter who in his eyes is a "dumb ass." Also as previously mentioned above, there is scene involving Elliot Gould's character enduring the torrent of sarcasm from his boss, played by David Doyle who also plays "Bosley" on the original Charlie's Angels series.
The acting performances by the cast were mostly pretty solid, especially with some well-recognised actors of the time like Hal Holbrook and Brenda Vaccaro, Although Karen Black had a rather minor role, I have to admit that I'd watch anything with her in it. In this film though, she is somewhat wasted. I do, however find that Elliot Gould tends to deliver his lines in most films as if he's just reading the words from the script. I have never found him to be a very convincing actor and to me he comes across as rather wooden.
In the matter of scientific accuracy and detail, criticism can be made. For instance, the notion of using the Saturn V for the manned mission to Mars and the lunar LEM for the Mars landing. There's a whole host of potential difficulties inherent in a manned-mission to Mars, and those planning to leave earth to be on future (likely one-way) missions, really have no idea of what they'd be in for!
12 to the Moon (1960)
A somewhat laughably entertaining sci-fi adventure film
12 to the Moon (1960) has ordinary special effects, acting and direction while a variety of plot devices at least keeps the action going.
The spaceship which lands on the moon is called the Lunar Eagle One. Nine years after this movie was released, the first human landing on the moon was accomplished in a lunar lander called the Eagle.
Coincidentally, the six NASA manned moon missions had a total of twelve astronauts who walked on the lunar surface.
For real-life lunar missions, it was originally conceived that a mission to the moon might involve the launching of a complete rocket, sending it to the moon, landing it on the surface and taking off again for return to earth. As we know, by the time of the Mercury, Gemini and Apollo missions that idea had been ditched in favour of using a multi-staged rocket and employing command and lunar modules to undertake the moon landing mission.
Instead of having a cast of thousands going on a mission to the moon along with the associated problems of weight to fuel ratios, as well as oxygen, food and water supplies, the Apollo missions had a crew of three with two to land on the lunar surface and one to remain in the orbiting command module.
In relation to the Secretary General of the ISO's speech at the start of the film, many people today might recall the global telecast of the first manned moon landing in 1969, along with the name of the lunar lander ("Eagle.") Despite it being a US mission, the landing was proclaimed as a "giant leap for all mankind."
This 1960 release was the first U. S. science fiction film to have a spaceship with a multi-racial crew, six months after the East German/Polish production of "The Silent Star"/"First Spaceship on Venus" (1960) with its multi-racial crew.
Considering the era in which the film was made, the composition of the crew should keep even wokey-dokey, PC & inclusive obsessed modern audiences reasonably happy. The international make-up of the crew was also quite an innovative idea for the time considering that such a notion hadn't really become a reality on such a scale until the development of the International Space Station program.
Putting racial and gender considerations aside, it appears that compatibility and emotional stability weren't factors in the selection process considering how some of the crew fly off at the handle over nationalistic and ideological differences.
What shows through is the speculative nature of our view of space and space flight at the time the film was made. Many still believed that there might be life, even intelligent life on Mars and Venus. Such films as 12 to the Moon ought to be viewed as both harmless entertaining film fun and as a snapshot of the values, attitudes, concerns and ideas of the time.
The Andromeda Strain (1971)
A clever sci-fi thriller that stands the test of time
Why have nearly all of the residents of Piedmont, New Mexico suddenly died?
What is 'Project Scoop?'
What does it have to do with the deaths of Piedmont's citizens?
Why have a team of scientists been recruited?
What is the role of the top secret sealed and secure 'Wildfire' facility?
What is..... 'Andromeda?'
This sci-fi thriller cleverly builds tension throughout a well-structured plot. It contains wonderful set designs and the actors deliver intelligent and credible performances. A film that stands the test of time.
The male scientist, Dr. Peter Leavitt in the Michael Crichton novel was replaced by the female Dr. Ruth Leavitt in the film version. Far from being eye-candy or love-interest material, Leavitt is probably the more interesting and down-to earth character in the film with her cynicism, sarcasm and wit. Actors Arthur Hill, James Olson, David Wayne, and Kate Reid who play the scientists may be familiar faces as supporting character actors, but they give top-notch convincing and believable performances in this film.
I liked the use of the multiple or split screen technique whereby different scenes and points of view can be shown at the same time. I'd like to see more of that used in films these days instead of the nausea-inducing shaky 'found-footage' camera-style garbage employed in modern films. In The Andromeda Strain one also has time to take in and digest details of a scene rather than endure Attention Deficit Disorder causing rapid-fire cutting from one scene to the next. Those who have been fed on that kind of music video style of film making will consider much of The Andromeda Strain as being rather slow-paced. You poor misguided slobs!
I remember reading Michael Crichton's 1960s novel and although I was largely impressed by it, I do recall being somewhat bored at various stages by some endless technical descriptions and wishing the story would get a move on. Strangely enough other readers seem to have had a different experience. I certainly did not have any feeling of boredom or distraction with the film adaptation despite it being over 2 hours long which says a lot about the film itself, I suppose.
The Andromeda Strain presents a very plausible depiction of the appearance and outbreak of a deadly new and unknown micro-organism, the kind of impact it can have, its identification and the efforts at combating and containing it. I know that in these jaded Covid times, there's a plethora of arm-chair immunology and virology experts (and didn't we hear from enough of them!) who might pooh-pooh aspects of the film. But, hey it was among the first of its kind in this particular genre. Even in the light of today's Covid pandemic, The Andromeda Strain does have relevance and resonance for modern audiences.
The Andromeda Strain stands out from many other sci-fi films in that it is solidly based on and informed by science, all without straining our credulity. Refreshingly absent too is the heavy finger-wagging moralising we have become accustomed to of late in films. Yes, the message is received loud and clear: that technology can create many problems for us. But it is an undeniable fact and part of our way of life and it can also serve to help us solve many of the problems we face.
Queen of Blood (1966)
A rather cheap hybrid sci-fi / horror film with capable performances, strikingly eerie and vibrant visuals and haunting atmosphere.
An alien species from another planet signals Earth to make formal contact with humanity.
The alien spaceship crashes on Mars.
A distress transmission is sent to Earth.
Earth dispatches a ship to attempt a rescue.
On Mars, the alien spacecraft is located.
Only a single dead alien humanoid is found aboard the ship.
An alien rescue shuttle had left Mars but crashed on the moon, Phobos.
A green-skinned alien female is found alive aboard the wrecked shuttle.
For the rescue mission's crew, their troubles are only just about to begin!
Queen of Blood (a.k.a. Planet of Blood) is a 1966 science fiction horror film produced by George Edwards and Samuel Z. Arkoff and directed by Curtis Harrington.
The film is based on the screenplay for the earlier Soviet feature film Mechte Navstrechu (A Dream Come True). Special effects footage from that film, along with footage from the Soviet science fiction film, Nebo Zovyot (Battle Beyond the Sun) were used.
A Dream Come True was about a queen from another planet and Harrington wanted his film to be about a vampire in outer space so he made that character a female to match the Russian footage.
Queen of Blood was released by American International Pictures as a double feature with Blood Bath.
Director Harrington made Queen of Blood back-to-back with Voyage to the Prehistoric Planet, which also incorporated footage from the Soviet films. Both films starred Basil Rathbone.
The film was shot at Major Studios in downtown Los Angeles and was shot in six days largely due to the use of a non-union crew who were required to work long hours.
In the film the alien vampire paralyses her victims with her glowing eyes, and employs a beam of heat from her eyes to burn through a rope that has been used to secure her arms. The effect of the alien vampire's glowing eyes was achieved by directing pencil-thin beams of light into Florence Marly's eyes.
If you feel that the plot is somewhat familiar then you'll recall such films as The Thing From Another World and It! The Terror From Beyond Space made in the previous decade earlier and the later sci-fi classic, Alien made in 1979.
During the first half of the film, Queen of Blood recycles footage - mainly long shots - from Soviet movies and incorporates American segments and new dialogue to produce something which does work together quite well and has some degree of coherence. The Soviet footage is a testament to the Russian film makers of the time but its overuse during the first half of Queen of Blood tends to slow the tempo down quite a bit. The best part of the film is the second half leading up to and featuring the onboard scenes as the crew of the spaceship contend with their deadly passenger and the overall atmosphere surrounding the voyage back from Mars.
A novelisation of the film, written by Charles Nuetzel, was published by Greenleaf Classics. The cover illustration featured a nude Florence Marly as the alien queen.
Hemophilia which the alien vampire queen was afflicted with, became known as the "royal disease" because it is an hereditary disorder once common among the royalty of Europe who often married one another and tended to be related.
"One should not be shocked by anything we find out there." (Farraday). No truer word may be spoken when it comes to encountering 'intelligent' life outside of our own planet. When we do eventually encounter extraterrestrial life, we may need to dispense with our previous preconceptions about what that life will be like.
The safest course of action to adopt when we inevitably come into contact with 'intelligent' extraterrestrial entities is to presume nothing and expect anything. Our survival may very well depend on it.
Village of the Damned (1960)
A sinister horror picture with superb believable performances, an excellent mix of horror and science fiction genres as well as taut and suspenseful direction from Wolf Rilla.
"Village of the Damned" (1960) is based on John Wyndham novel, "The Midwich Cuckoos" about a British village visited by unknown (most likely extra-terrestrial) life form which leaves all women of child-bearing age of the village pregnant.
There is also a sequel, "Children of the Damned (1964)" and a remake, John Carpenter's "Village of the Damned" (1995). Neither quite matches the quality and atmosphere of the original.
"Village of the Damned" was originally intended to be an American produced picture starring Ronald Colman but MGM shelved the idea due concerns with some the issues that were to be dealt with in the film. A couple of years later the film was relocated to England and shot on location at Letchmore Heath, with George Sanders replacing Colman who had recently passed away.
Most of filming took place at MGM's Borehamwood Studio but it was also shot on location in the village of Letchmore Heath near Watford, approximately 12 miles (20 kilometres) north of London with Local buildings such as The Three Horseshoes Pub and Aldenham School used during filming.
The film had a shooting schedule of six weeks and a budget of £82,000. Despite the film's small budget and sparse use of special effects, the performances of the cast and almost documentary style of story telling gives the film a very engrossing, disturbing and terrifying quality.
The glowing-eye effect was achieved by creating animated overlays of a bright white iris; this created a bright glowing iris with a black pupil when optically printed into the film. This technique was used mostly on freeze-frame shot to create the required effect.
The blonde wigs that the children wore were padded to give the impression that they had abnormally large heads.
What makes the film particularly disturbing is the notion of children, who we ought to cherish and protect actually becoming our worst nightmare. The belief in children's innocence and our natural human attachment to our offspring is being exploited for the purpose of world domination. Added to this is the unsettling fear of helplessness on the part of adults to do anything about the situation.
"Village of the Damned" is certainly a film of its time as can be seen not just from the more obvious elements but also from its avoidance of using the term "pregnant" as well as it's subtle anti-nazi commentary relying on people's recollections of Nazi German notions of Aryan blonde and blue-eyed racial superiority. Heck, even the Commie Russian Soviets in the film didn't want any part of their children's colony after a while and ended nuking them!
One final and interesting point of interest is when the military are testing Midwich for radiation after everyone wakes up, you'll notice a sign in the background that reads, "Beware of Children."
THX 1138 (1971)
A thought-provoking, atmospheric and largely artistic experimental project.
A dystopian future in which people are controlled through the use of android police and mandated use of drugs to suppress emotions.
A uniform and homogeneous world that suppresses
individuality and love.
A sterile bleak future where unquestioning conformity is the rule.
....a future where sexual intercourse and reproduction are prohibited.
....a future where the use of mind-altering drugs is mandatory.
....a future where compliance among the citizenry is enforced.
....a future where emotions and the idea of family are forbidden.
....a future where uniformity is emphasized with workers required to wear identical white uniforms and have their heads shaven.
....a future in which people have been reduced to bits of data with identity badges bearing three letter prefixes and four digits instead of names.
Produce, buy, consume. The individual's function is to be a consumer of things which he is told he must want whether or not the things have any real value, meaning or function. They are simply exhorted to "Buy more. Buy more now. Buy and be happy."
Human beings are reduced to statistics with human life placed at the disposal of the requirements of economics with the incidence of death being normalized.
Even God apparently has become a mass of wiring and electronics and THX like all members of society are "a subject of the divine, created in the image of man by the masses, for the masses."
What to do when faced with the crushing pervasiveness of an insane dehumanizing system? When legal recourse is meaningless as the legal framework reflects the insane logic of that system? When the broader population is rendered compliant by the medical, media and economic organs of power in service of the needs of the State?
THX 1138 is a citizen of that future society living the reality imposed by the State until the time arrives when his perception of that reality begins to change.
I found it somewhat difficult to establish a connection with the characters and the story despite the film's compelling premise. The film relied a lot on dialogue at the expense of an engaging story to carry the audience along. TXH 1138 has more of the feel of a rather slow-paced but thought-provoking, atmospheric and largely artistic experimental project.
THX 1138 is a very gloomy dystopian work in a similar vein to Orwell's "1984" and Huxley's "Brave New World," along with films like "Gattaca" (1997). Such works force the audience to think and consider what exactly is happening, why particular choices are made and what it all means. A very difficult balancing act between this aspect of intelligent film making and the temptation to inundate the audience with constant on-screen action and infantile messaging.
Planet of the Apes (1968)
An imaginative ground-breaking sci-fi film with biting cultural commentary.
Planet of the Apes (1968) is an imaginative ground-breaking sci-fi film with biting cultural commentary.
Thrust into the year A. D. 3978!
Three astronauts emerge from deep hibernation...
Their vessel crash-lands on a mysterious planet!!
One of the crew has accidentally died in space!
The space craft sinks under the waters of a lake.
The three survivors head off to explore their new home.
With limited rations
&
A hostile arid desert plain,
They trek in search of food, water and evidence of life,
Only to discover that they are not alone,
and that their troubles have only just begun.......
After watching a film like Planet of the Apes, one cannot help but reflect on the human race itself. Human history both ancient and modern is filled with instances where powerful elites jealous of preserving their power and furthering their vested interests strive to shut down any alternative view or action that challenges their positions of power and the world view they wish to perpetuate and on which that power depends. This holds true for any human endeavor from politics; economics; culture; science; religion; environmental, gender and racial politics; and on and on.
Dr. Zaius recognized the danger that human beings would pose to his ape society. In our endeavors to extend our presence beyond the confines of our planet, it would not be surprising that any intelligent alien species would be hostile toward our presence in their galactic neighborhood given our propensity for violence, greed and sense of entitlement and proprietorship over anything that's not nailed down.
It is becoming increasingly the case of late that we seek to view people and events in terms of absolutes: right and wrong, good and bad, black and white, true and false. In Planet of the Apes, such clearly defined distinctions don't apply. So much depends on one's point of view or perspective. The simian inhabitants of ape society appear to be quite callous and cruel in their attitudes and behavior toward human being. Bur not all them hold such attitudes and what of the attitudes and behavior of human beings toward other species and toward members of its own species? Are we any better? It seems that any view of ape society is tantamount to holding up a mirror to ourselves. Despite our hubris and inflated sense of self-worth and superiority, we are after all not much more than primitive apes with processing power, the kind of power that if we are not careful could wind up destroying our species. What will nature and the process of evolution choose to fill that little void with I wonder?
The "See No Evil, Hear No Evil, Speak No Evil" shot was entirely ad-libbed on the set on the day of shooting which gave the film some sense of amusement within an otherwise serious sequence of events. Come to think of it, the three orangutan presiding officials in that shot could serve as emblems for the high priests of the current "Woke-ocracy" and the adherents of Cancel-culturalism, who don't wish to have our eyes and ears polluted with ideas and views contrary to their ideology. Their "ape" solution? Muzzle mouths lest "evil" be spoken of....
Soylent Green (1973)
An intelligent and engaging sci-fi detective story with a disturbing vision of the future.
2022 AD: A dystopian future world beset by climate catastrophe in the form of dying oceans; year-round greenhouse-caused heat and humidity; air, land and sea pollution; poverty; overpopulation and depleted resources.
Population of New York City: 40.000.000
Only the elite can afford spacious apartments, clean water and natural food at exorbitantly high prices. Their homes are gated and fortressed and they are provided with private security, bodyguards and slave / concubines referred to as "furniture."
The bulk of the population has to contend with shortages of food, water and housing.
NYPD detective Frank Thorn is tasked with investigating the murder of the wealthy and influential William R. Simonson, a board member of the Soylent Corporation.
What is eventually uncovered could be more than Thorn or anyone else had bargained for.....
Edward G. Robinson's final on-screen performance in Soylent Green ("Going Home" scene in particular) is a testament to the fact that he was one of the finest actors of any era.
A film like "Soylent Green" or indeed Harrison's original story ought not to be seen as being some kind of prophetic view of the future in which you can select these bits as turning out to be true while other bits they plainly got wrong. Such stories and depictions are in fact best viewed (apart from their entertainment value) as being cautionary tales about what could eventuate if we blindly follow particular paths toward the future and that if we choose to change direction then the world could turn out to be a better place to live in. After all, do we want to live in a dangerous, overcrowded and over-regulated society that is largely controlled and manipulated by giant conglomerate corporations? Do we want to live in a society where people's freedoms and liberties are curtailed, where climate change makes human habitation almost unbearable; where mass extinctions of land and sea life occur largely due to human activity and where disruption of supply chains and inequitable distribution of vital products leads to scarcity and shortages for many? Well, do you? Yes, in many ways "Soylent Green" is still a very persuasive, unsettling, thought-provoking and relevant film even after almost half a century! Richard Fleischer's film provides a timely warning as to the many possible ways a society can consume itself from within if it is not careful.
The Omega Man (1971)
A time capsule of a sci-fi movie that is enjoyable to watch but lacks the impact and sincerity of its 1964 predecessor, "Last man On Earth"
"The Omega Man" is certainly a film of its time with its obvious acknowledgments to the insanity of the Cold War rivalries of the time, (in this case conflict between Russia and China) along with the matter of racial tensions that gave rise to the Black Power movements. The racial context together with the developing on-screen relationship between Lisa and Neville provided an interesting dynamic between the two characters.
"The Omega Man" seems to serve largely as entertainment value and as a piece of film horror. The film acts more as a vehicle for actor Charlton Heston whereas in the earlier film, Last man On Earth, Vincent Price gave a far more convincing performance in conveying the idea of isolation and the desperate struggle to survive against the relentless presence of death. Vincent Price invested himself fully in the role of a man struggling against personal tragedy while struggling to survive alone in a hostile world bent on consuming him.
Ron Grainer's film score in its 1970s style of jauntiness stands in jarring contrast to the more darker and menacing moments of the story.
"The Omega Man" does raise some interesting questions about our humanity, our civilization and human progress. It isn't always apparent in the film exactly who the enemy is. Is it the old civilization with its technological progress, its weapons of war, its insatiable consumerism? Is the enemy Matthias' cult-like group of mutants who are hell bent on wiping away every last vestige of the old civilization and taking the world back to some kind of dark age?
In its smug arrogance and complacency, the modern world worshiped its god of economic greed and materialism and wallowed in its belief in the certainties of science and technology. The end result - fashioning the means of its own destruction.
Those on the receiving end of civilization's destructive impulses appear to have been gathered from society's outcasts, the alienated, the ordinary and powerless and voiceless. All they needed was someone to provide that voice and a vision. Matthias was the one to step into the void and take on the mantel of prophet with a message the desperate were ready to receive.
Thus was born a cult - fanatical, zealous, fundamentalist with a bleak outlook and vision of the future and an uncompromising rejection of all past human accomplishments and progress. Even when offered the hope of a way out in the form of a vaccine serum, it like all products of science is rejected and rationality is eclipsed by the shadow of ignorance and fear. (Now doesn't THAT sound familiar in the context of the current Pandemic!)
The tragedy is that this scenario doesn't seem all that shocking or unbelievable. Our history both distant and very recent is littered with examples where civilization has been brought to the brink through its own stupidity and hubris, and where desperate conditions have impelled whole societies to seek to vilify and exterminate perceived enemies while mindlessly handing over their minds and wills to groups and individuals intent on exploiting their sense of grievance.
2001: A Space Odyssey (1968)
An important and innovative classic sci-fi film that often tends to be rather overrated.
"2001: A Space Odyssey" is a science fiction classic film that deals with such themes as human evolution, human nature, destiny, technology, artificial intelligence, and the possibility and implications of extraterrestrial life.
Keeping in mind Apollo 8's lunar orbital mission and the looming historic moon mission of Apollo 11 in 1969, the portrayals of space are quite realistic and accurate when compared to the usual depictions in science fiction films of the time. Also unlike most science fiction films depicting alien life-forms as being basically humanoid, "2001" simply suggested at the existence of an extraterrestrial super-intelligence, rather than depicting it.
As opposed to the use of conventional narrative, "2001" is a strikingly nonverbal film opting instead to communicate on a visual, symbolic and emotional level. There are long sequences without dialogue while much of the dialogue that does occur is rather banal and almost inaudible. For me, this aspect of the film together with the realistic silence of the space sequences made the film rather boring and tedious. I don't mind saying that I'd rather have the sound effects of explosions and rocket engines any day. Rhythmic heavy space-suited breathing just doesn't cut it. Also give me a film that just tells a good story in addition to any other artistic, metaphorical or symbolic touches one might wish to make to get a point across!
Many different filming techniques were used to achieve various effects, and it is important to note that no part of film was made using computer-generated special effects which modern audiences are all (far) too familiar with.
The drama and tension of the film centers around the life and death struggle between the human crew who are aware that HAL is malfunctioning and must be deactivated and HAL who is aware of their suspicions, is at war with its own conscience and is intent of staying alive and completing the mission.
One very interesting aspect of HAL is that the machine has a far more complex, interesting and engaging presence than the human characters who come across as being rather bland and are almost machine-like in their responses and interactions. In some respects, HAL is more 'human" than his human creators.
Silent Running (1972)
A melancholy sci-fi film that makes you think about what could happen, and is in fact happening to our planet, along with the consequences for us all if no action is taken.
Bruce Dern gives an excellent performance as a disturbed and tortured individual who decides on a particular course of action in the face of what he sees as an act of insanity on the part of those in power who make decisions affecting humanity. There are times when we can view him sympathetically while at other times we can quite rightly condemn him for what he has chosen to do. Rarely are things simply a matter of black and white in reality, and this comes through Dern's portrayal of his character, Lowell.
Lowell is unable to compromise on his ideals and principles, and as a result he resorts to acts of murder. Is a recourse to violence the only solution when faced with the unyielding power of those in authority whose actions are viewed as being a threat to humanity? How does the fanatic, the terrorist or ideological extremist come into being?
"Silent Running" effectively combines feelings of sadness, loss and hope within a less than subtle message about ecology and human impact on nature. Much of the film's mood and atmosphere is evoked by the stirring, triumphant and often mournful music, composed by Peter Schickele (P. D. Q. Bach). The soundtrack contains two songs written by Schickele and Diane Lampert: "Silent Running" and "Rejoice in the Sun" both which were performed by folk singer-songwriter Joan Baez. Baez's vocals unmistakably call to mind the time period in which the film was made and the concerns that people had for the future of the world - concerns which have not diminished with the passage of time and which still remain relevant.
"Silent Running" is a very prescient film in terms of its ecological theme and premise. When the film was made, global warming and climate change as such were not yet part of popular discourse. People were certainly becoming more environmentally conscious and there was much anti-war sentiment with the Vietnam War still pointlessly and cruelly grinding away. This was reflected symbolically in the film by the use of nuclear weapons to destroy the last-remaining natural habitats of Earth, as well as the use of a vessel called the Valley Forge whereby an instrument associated with war is creatively transformed on screen into a tool to achieve laudable ecological ends.
While viewing the film, we cannot help but reflect on our own 21st century concerns over the effect that global warming and climate change is having on our planet. It is as if we have arrived at a tipping point as we witness weather extremes with increasing incidents of flooding, rising temperatures, heatwaves, droughts, ferocious wildfires, fluctuating weather patterns and so on. We realize just how much we human beings have contributed to this situation over the course of the industrial and post-industrial era in terms of the amount of carbon dioxide we have released into the atmosphere. We also lament over what is happening to our own forests - the lungs of the earth - as a result of deforestation due to cutting down of trees for timber and burning huge swathes of forest for agriculture and farming.
With the recent UN report issuing a "code red" for humanity, the need for us as a species to adopt a change of attitude and method of relating to our planet and the natural world is urgent as our own survival may be at stake.
This is a somewhat similar message as that being conveyed over the space of half a century ago by "Silent Running." The message in the film is far more optimistic and perhaps a bit simplistic and naive, whereby a catastrophe can be avoided via human resolve in partnership with technology. Then again, despite our own cynicism when it comes to technology, its abuses and its effects on our lives, it may very well hold part of the key to helping us tackle the ecological threats to our planet and survival by helping us to preserve and conserve the gift of the natural world for future generations.
Demon Seed (1977)
A chilling prescient sci-fi thriller of a film
A human has created a machine...Now the machine
wants to create a human!
"A beautiful woman...A master computer...The most shocking act of creation ever imagined!!"
A woman...imprisoned and forcibly impregnated by an artificially intelligent computer! "Fear for her!!!!"
"Demon Seed" was based on the 1973 novel of the same name by Dean Koontz. The story was reprinted by Corgi / Bantam at about the same time as the film's release in 1977. A revised and updated version was released in 1997 that contained numerous technological updates and character differences from the original story.
Proteus' polyhedron creation is a fine and original pre-digital design concept by art director Edward Carfagno and special effects man Glen Robinson.
Julie Christie ("Fahrenheit 451") who plays Susan Harris gives a very solid performance as a vulnerable and desperate character pitted against a relentless artificial intelligence voiced in a largely calm but eerie and menacing manner by Robert Vaughn.
Fritz Weaver is well-suited to the role of the creator of Proteus who comes to the realization that he is losing control of his creation. He alternates effortlessly between high points of emotion and cold reason.
Jerry Fielding's excellent music score is included on the soundtrack to the film "Soylent Green" (1973) composed by Fred Myrow. It gives "Demon Seed" a very chilling and tense atmospheric quality, enhancing Donald Cammell's effective direction.
Dr. Harris' cool futuristic car was an unmodified production car, a Bricklin SV-1 (Safety Vehicle 1). The car was built in Canada but intended for the US market. The SV-1 was the only production vehicle in automotive history to have powered as opposed to manual gull-wing doors that opened and closed at the touch of a button. Fewer than 3,000 were produced from 1974-1976.
ICON's headquarters buildings were actually the City Hall for the city of Thousand Oaks, California.
The floppy disk that Harris loads into the "Enviromod Security System" was an 8 inch Floppy Disk which had the potential of a whopping 6Mb of data!!
Proteus was a Homerian god of the sea who could prophecy about past and future to those who caught him, but who changed shape in order to escape from his pursuers.
"Demon Seed" is a deceptively complex film in that it forces you to think about and question the nature of humanity, morality and ethics as well as what constitutes life and sentience. This especially comes through the intelligent screenplay of Robert Jaffe and Roger O. Hirson.
The Last Man on Earth (1964)
A thoughtful and absorbing post-apocalyptic movie that has soul
"The last man On Earth is based on the Richard Mathes classic novel, "I Am Legend."
It is certainly the granddaddy forerunner of post apocalyptic films such as "Night of the Living Dead," (1968) "Omega Man" (1971), "Day of the Dead" (1985), "28 Days Later" (2002) and "I Am Legend," (2007)
The film's screenplay was written in part by Matheson, but being dissatisfied with the result he chose to be credited as "Logan Swanson" while William Leicester, Furio M. Monetti, and Ubaldo Ragona completed the script.
The Last Man on Earth was filmed in Rome with a predominantly Italian cast and crew, with scenes being completed at Esposizione Universale Roma.
Vincent Price effectively conveys the terror and despair of being the last living man on an Earth and he gives a moving and powerful performance as an isolated individual who is being continually menaced and besieged by hordes of zombies while having to contend with his own spiritual, mental and physical isolation. Is character is less an action hero than a scientist struggling to solve a personal and global dilemma. It would not be too much of a stretch to suggest that this would have to be one of Price's best on-screen performances.
The film and its subject matter lies very close to home when viewed from the perspective of the current Covid Pandemic. This is particularly so when we witness the scenes involving the appearance of a new virus, the unraveling of normal life, reason and thought around the world, canvas-wrapped corpses being taken away destined for a pit, the effect on human relationships and society and the struggle to find a cure.
The low-budget constraints do not seem to detract from the film's effectiveness all. In fact the scenes featuring empty streets and a deserted a city all shot in black and white combine to lend it a bleak, unsettling and eerie atmosphere.
Countdown (1967)
Rather dry, less than exciting but well-acted snapshot of the space race during the Cold war period of the late 1960s
The Soviets are about to launch a manned mission to the moon.
A desperate bid by the US to land a man on the moon before the Soviets do.
An Apollo moon program that isn't ready to launch yet.
A rushed preparation to send a single astronaut in a modified Gemini capsule to land on the moon.
He is to remain alone on the moon in a lunar shelter for a year until an Apollo mission can rescue him.
Who will be selected for this hastily prepared and perilous mission and can it succeed?
"Countdown" is a 1968 science fiction film directed by Robert Altman, based on the 1964 novel "The Pilgrim Project" by Hank Searls. It was released eighteen months before the first manned mission to the moon in 1969.
The film's working title was "Moonshot" and production was assisted by cooperation from NASA who lent its facilities at Cocoa Beach, Florida. Filming took place in part at NASA facilities in early 1967, immediately after the January pad fire in Apollo 1 in which the crew perished during a ground test.
Altman was fired as director of the film due to the inclusion of overlapping dialogue. What studio executives mistook for incompetence was really the director's attempt at achieving the illusion of reality. If I recall, this was a technique used in "TheThing From Another World" to very good effect.
Director Altman had previously directed "The Delinquents" (1955) and "The James Dean Story" (1957), as well as directing TV series such as "Combat" over a ten year period.
It now seems a bit quaint and unusual to feature a modified Gemini spacecraft in a lunar landing. In the film, The Pilgrim spacecraft is a hybrid of a complete Gemini spacecraft grafted onto the descent stage of an Apollo lunar module. However, it seems that there had been proposals in the mid 1960s to use modified Gemini craft for lunar orbital and even lunar landings to complement the Apollo flights. One such lunar Gemini program, "Big Gemini" would have accommodated as many as 12 astronauts, but this and other proposals were rejected or never went beyond the concept stage for a variety of reasons.
Lee's landing site is the "Sea of Storms" or "Oceanus Procellarum / Ocean of Storms and it is where Apollo 12's lunar module "Intrepid" landed on 19 November 1969. The film's moon landing sequence was simulated in the Mojave Desert.
"Countdown" is a film of its time featuring a Space Race within the context of the Cold War between the USA and the Soviet Union. NASA was charged with the seemingly impossible task of fulfilling President Kennedy's challenge of "sending a man to the Moon and returning him safely to the Earth" by the end of the decade. The point of this enterprise was not necessarily to expand the humanity's frontiers and scientific knowledge but was instead aimed at getting a man on the moon and safely back before the Russians did.
Interestingly enough, even today, over fifty year later we still talk in terms of a space race when referring to upcoming lunar and Mars missions even though the old Cold War is over. A race with whom and to what end? It seems that the quest for human knowledge, expanded horizons and sheer wonder is instead being replaced by the need to corporatize, privatize, extract, consume, obtain profit and gain strategic advantage from our endeavors in space. Technology has certainly progressed but the same cannot be said for our mentality. Our space junk and refuse has certainly increased exponentially.
The idea of sending a craft with an astronaut to another world and allowing him to stay there, kept alive by an environment habitat provisioned with supplies and the sending of further supplies via unmanned rockets seems like a scaled-down version of similar earlier scenarios envisioned for future Mars missions. Of course, on Mars and even on the moon we will have to come up with ways of becoming self-sustaining using the available resources of the new worlds we'll inhabit.
Overall, the film deals with complex emotions and human behavior instead of technology but suffers from a lack of tension and suspense, with the result that it comes across as being rather flat and pedestrian, lacking any real tension and suspense like in its contemporary, "Marooned" (1969). The only real exception was the climactic scenes featuring Lee Stegler's lunar descent and his coming across the dead cosmonauts on the lunar surface.
"Countdown" certainly suffered from its evident lack of budget. It certainly showed in its depiction of the mission control room and the moon walk sequence which both looked particularly disappointing and lacked realism.
Fahrenheit 451 (1966)
An excellent adaptation of a great novel and in keeping with the spirit of Bradbury's classic story.
"Fahrenheit 451" is a 1966 British dystopian sci-fi film directed by François Truffaut, starring Julie Christie, Oskar Werner, and Cyril Cusack. The film is based on the 1953 novel of the same name by Ray Bradbury. The story is set in a future tightly controlled society in which the government deploys firemen to incinerate all literature in order to prevent any independent thinking that might upset the established order of things.
Truffaut's "Fahrenheit 451" doesn't offer us a sleek whiz-bang futuristic view of the future. Unlike Bradbury's book, there is no deadly mechanical hound. Even Bradbury wasn't focused on anticipating in any detail the possible great technological advancements of the future. Instead of such details, he would focus on presenting "what if?" scenarios and considering implications and consequences for humanity. What we do have though in the film version are commuters traveling via monorail and living rooms with wall screens uncannily resembling our own 21st century HDTV sets. The houses are uniform '60s style modernist functional but soulless structures that seem to contain retro gadgets like the wall phones. Even the red fire engines look like dinky Tonka toys rather than massive high-tech futuristic beasts. Such elements seem to suggest to the viewer that we are dealing with a world that is not too far removed from our own experience.
As already mentioned,"Fahrenheit 451" deals with a tightly controlled society in which books are outlawed and firemen use hoses not to put out fires but instead to burn books which are outlawed.
One such fireman, Montag is caught between his wife, Linda who anesthetizes herself on pills and is absorbed by the banal content on her wall-screen TV all day, and Clarisse, a neighbor who is full of life and who encourages Montag to ask questions about his job and his life.
Julie Christie is cast in both roles with the competing forces of conformity (Linda) and non-conformity (Clarisse) competing to influence the decisions Montag ultimately makes.
Clarisse helps to reveal to Montag that he is merely a tool of a system of authority that maintains control by virtually incinerating human history, personal and collective memory, and independent thought.
As for Montag's personal life, when he enters his own house after having interacted with the ebullient Clarisse, he is confronted with a shell of woman whose only joy and aspiration in her life involves playing a role in a banal interactive TV program called "The Family." For Linda any sense of personal renewal seems to come from the aftermath of a routine suicide attempt and resultant stomach pump from a couple of orderlies.
The Clarisse character in Bradbury's book is killed off early in a suspicious hit-and-run accident. In Truffaut's film, she reappears towards the end and being reunited with Montag helps to offer the viewer a sense of future hope.
Both Oskar Werner and Julie Christie's performances are quite good, as is Truffaut's direction along with the tight editing, effective camera work and Bernard Herrmann's suspenseful and thrilling musical score.
The film's story deals with matters that have extended far beyond either side of the 1960's era. Namely censorship, conformity, and omnipresent surveillance and control by government. In this sense, "Fahrenheit 451" delivers a very relevant message. Book burning had indeed occurred in humanity's past, in Nazi Germany and Communist Russia during the 20th century.
People in many countries today have to endure censorship of ideas and restriction of free speech. Ideas that conflict with their government's view of reality and which challenge established authority are banned outright and those who express such ideas in print, over the airwaves and on the social media and the internet are often punished.
Nor should we in so-called democratic Western countries feel particularly smug about our perceived freedoms as we sit transfixed in front of our huge flat panel smart TV screens satiated with binge streaming; sopping up social media stupidity on our devices; reveling in the unreality of "reality" TV and televised dumbed-down bread & circuses; documenting every trivial and stage-managed aspect of our lives for our "cousins" and hoping beyond hope we'll be liked and friended, all the while ensuring we're constantly plugged in and not wasting our time taking time out to sit, think and wonder.
And so we sit agape at the screens as the countless experts, celebrities, officials and functionaries of the information/influencer industry try to tell us what we should be doing, thinking, eating, drinking, behaving, accepting, considering, knowing, wanting, hoping, valuing, and on and on and on they babble at us with advice on the most effective way to wipe our noses.
Then there are the largely useless corporate pimps: the advertisers and on-line influencers who primp, pirouette and pout at us from our devices getting us to turn tricks as consumer whores. And so off we go to tap-and-go or buy now and pay later to fill our lives up with the latest stuff which we can one day happily dispose of on the nature strip or local tip.
Thank god for the ever wakeful and watchful Woke-brigade with their fire-hoses of political correctness at the ready to be trained on any hint of independent, contrary, unorthodox, and unsanctioned thought and deed. Gone With The Wind - take that! Dr Seuss - take that! Huckleberry Finn - take that! All such books and films might upset and make people feel uncomfortable. We can't have that, can we? Onward Cancel Culture! Burn those books, topple these statues, ban those films, re-write and censor history, prescribe what words can and cannot be used: "He, she, husband, wife.....Coon cheese!" What? Edward William Coon? No, no, no, ban it, change it now! What's that? You can still buy a copy of Mein Kampf! Shut up! Take that!
Our freedom of expression and right to privacy is even being slowly eroded by corporate entities and social media platforms who hoover up our personal information, determine what we can and cannot do with "Tattleware" and QR coded arrogance and restrict what we can think and say based on what they judge to be acceptable or not with the punishment of finding oneself being excluded, fined, removed or de-platformed - a non-person.
Of particular note is the scene featuring the burning of the illegal book collector along with her library of books. The viewer cannot help but feel impacted by the sense of suffering and cruelty being inflicted on the book covers and pages that are burning and curling before turning black as they are consumed in a mass of searing orange flames. This together with the Joan of Arc-like defiance of the old woman as she herself strikes the match and succumbs to the flames.
The old woman represents that kind of spirit that still exists in the form of a single soul standing defiantly in front of a tank, or young people putting their lives on the line in the face of brutal repression, or ordinary citizens who face bullets fired by those who are supposed to serve and protect, and many others in various countries who are prepared to resist suffocating and overwhelming oppression being imposed on them.
In the 21st century we are fortunate that we are awash with reading material whether it be in the form of traditional printed books, ebooks, on-line web-sites and blogs, social media, newspapers, and even audiobooks. But access is not always equitable and censorship still does occur in many places.
Despite the prevalence of the written word and the many various platforms it is conveyed by, along with the amazing opportunities that exist for ideas to be conveyed and exchanged, I can't help wondering if whether people are any better informed than say someone like the character Montag who wasn't aware that firemen like him once had the role of putting out fires.
We certainly know about the myths and approved sanitized, nationalistic and sanctimonious versions of our history, but the fact remains that many people just don't really know their history. This despite the availability of information about it: written and audio-visual. So, who is to blame?
It also must be remembered that information that is not mentioned, is withheld or is left out ought to be of concern when it comes to matters of free speech and the free flow and access to information.
The story of "Fahrenheit 451" serves as a cautionary tale that reminds us to be on our guard whenever ideas are outlawed by a governing elite that fears an independent-thinking public and that we should always be prepared to question its motives for doing so. Only our own apathy, our preference for convenience and our succumbing to distractions will prevent us from doing so.
The film and the book it was based on serves as a warning to us in this era of increasing use of information technology, that it is of primary importance that we resist attempts by established and new rising political, social, technology and media elites to engage in intellectual repression and manipulation through the media and elsewhere.